635 



The Peerless Series i 

No. 47 I 



MISSING LINES 

A SKETCH 

By C. Gordon Kurtz 



PRICE 25 CENTS 



Frank J. Stanton, Publisher 
Norwich, N. Y. 



All 25 cents each 

15 Peerless Minstrel Book, No. 4 The latest in 
the minstrel material collection, all dished up, red hot and 
ready to serve, uniform with but entirely different than any 
of the preceding three numbers. You cure sure to find just 
what you want to "hit" your friends and all that is neces- 
sary for you to do is supply the name. The laughs are all 
"canned" — open the can! Get all four books! Make your 
minstrel show complete with this enjoyable bunch of always 
desirable and "make-good" material. 

We want to tell you right here that the jokes, etc., in our Minstrel 
Books are so good that people are bu)dng them just to "stock up" on 
bright, fresh, crisp gags to spring on their friends, FactI 

16 A Couple of Lunatics A most successful dra- 
matic sketch for two people, male and female, suitable for 
presentation on stage, in parlor or church, as only an ordi- 
nary setting or room is necesseuy. Runs about fifteen min- 
utes and will delight any audience. 

17 Who Wouldn't be a Boy? A monologue. You 
can imagine at once what it is about and no doubt it will 
carry you back to your own childhood and its pranks. It 
is full of laughs, first to last. 

18 The Trickster Tricked A very clever little 
farce in two scenes for seven characters, 5 male 2 female. 
Is easily staged and has fine old man, character old man, 
soubrette, male and female colored servants, genteel young 
man, etc. It is highly enjoyable and you are sure to like 
it. It runs about 25 minutes. 

Stanton Amusement Co., Norwich, N. Y. 



MISSING LINES 



A Sketch 



By C. Gordon Kurtz 



Copyright, 1921 

FRANK J. STANTON 

Norwich, New York 



MISSING LINES 



CAST OF CHARACTERS 
Betty Journeay, a girl who has "fought her way.** 
Pierre Wastnuth, a young author and her lover. 



fisW--'-^ 



^^X'^^'^ 



COSTUMES 
For Betty: a very handsome evening gown. 
For Pierre: a neat business suit. 



PROPERTIES 
Piano, sofa, parlor table and chairs, rugs, bric-a-brac, 
photographs, books, newspaper, palms, flowers, in fact 
anything for a handsomely furnished room. 



TIME OF REPRESENTATION 
25 to 30 minutes. 

PEC -2 1^^ 

PERMISSION 
to produce this Sketch must be obtained of the Publisher. 



Entered according to Act of Congress, in the year 1921 

BY FRANK J. STANTON, 

In the OfEce of the Librarian of Congress, at Washington 

ID 59256 



I 



Missing Lines 



SCENE— A very handscmcly furnished room; the sitting room of Betty 
Journeay's apartments. Piano R, sofa L, Table with chairs at sides 
C, books on table, photographs and bric-a-brac on piano, fur and oth- 
er rugs laid, palms and flowers about stage. A parlor set with con- 
servatory or balcony backing through Center Door, entrances Right 
and Left and Center. Betty is at piano playing seme popular air as 
curtain rises. 

PIERRE Enters L, with arms extended toward Betty, interrupting 
her-playing. Betty! 

BETTY turns on stool, stares at him What! you here? 

P That's a nice way to greet a lover w^ho has been away 
so long, advances toward her 

B Go away, go away! I don't want to see you, you ter- 
rible ghost! 



MISSING LINES 



P Ghost! what do you mean, ghost? 

B Don't come near me, don't come near me! Why do 
you haunt me? What have I done to you? 

P Betty, I don't understand you. Tell me-- advances 

B rises Stop! if you come another step I shall ring for 
assistance. 

P I call this a cool reception after my being away five 
years, and you of all others to greet me this way. 

B B-b-but arn't you drowned? 

P Me, drowned--do I look drowned? 

B Are you sure you're alive and not haunting me? 

P I'm as live as ever, and as to the drowning part, am 
the only one saved out of all that sailed on the ship, 
"Good Fortune." 

B Then you didn't drown when the ship sank off the 
South Sea Islands? 

P No, Betty. If you think I'm a spirit from the un- 
known, just come and punch me. I won't harm you. 

B If you're sure you're not dead, I'll come and shake 
hands with you. 

P I assure you I'm alive and kicking. dan:es See, I can 
make as much hoise as you can. 

B Spirits can make noises too. They make blood-curd- 
ling noises. 

P They make all their noise with chains. The only 
chain I have is a watch chain, shows watch chain Come and 
shake hands and I will tell you all. 

B I guess I'll take a chance but I'm scared to death of 
spirits, advances slowly and greets him Why you are alive, arn't 
you? I thought you was dead five years ago. 

P Where did you hear this-- who told you? I'm anxious 
to have you tell me all about it. 

B All right, let's sit on the sofa, they sit You know, 
Pierre, it seems great to see you again. 

P You didn't show it when I first came in, did you? 

B Well, to tell the truth, no; you know I thought you 
had left your grave to come back and torment me. 



MISSING LINES 



P Even if I did you ought to be glad to see me. 
B Oh, no; I'm terribly superstitious you know. 

P Well, let's drop the ghost subject, I want to hear all 
about my supposed death. 

B Well, after you sailed on the ship "Good Fortune," I 
knew it was a dangerous course you was taking. About 
six months after you sailed I received a letter from the 
company that owned the ship, stating that the "Good 
Fortune" was wrecked off the South Sea Islands and all 
onboard had perished. When I saw you standing there 
you don't know what a queer sensation came over me, and 
I hardly knew what to do or say. 

P I don't wonder that you was frightened. I'll never 
forget the glare in your eyes when you turned and saw me 
in front of you. 

B When I think of it it gives me the shivers. Now I 
think it's your turn to clear up the mystery on your part. 

P All right. It's as you've said, the "Good Fortune" 
was wrecked off the coast of the South Sea Islands. For- 
tunately I succeeded in getting a life preserver and I knew 
it was a case of everybody for himself. So I jumped into 
the sea with the life preserver around me. How I did it I 
do not know, but the next morning I found I had been 
washed upon the shore of one of the islands. There I was 
for five years, living on the fat of the land, and believe me 
it wasn't very fat, nor I didn't grow fat either. I just lived 
or I might better say I staid. 

B How did you get away from the island? You didn't 
swim. 

P No; it happened like this: While I was scouting about 
one day, looking for something to eat, I saw a ship ap- 
proaching the island. I tried my best to attract attention 
and nervously waited to see if the ship had caught my sig- 
nal. The few moments that passed seemed like years. It 
was a case of going back to civilization or staying in the 
wilds of no-man's-land. I anxiously watched to see what 
the ship would do. To my joy it came nearer and nearer 
and soon a boat was lowered and rowed to the island and 
--well, here I am. 



MISSING LINES 



B How romantic and exciting! 

P It was certainly exciting but far from romantic. I've 
something wonderful to tell you. 

B What is it? 

P I have been asked to write the story of my adventures 
on the island for one of the leading New York papers. Now 
isn't that fine? 

B Wonderful. You must let me read it first. Will you ? 

P Yes, you shall have the first chance to censor it. looks 
around room I can't get over this swell apartment and all the 
fixings. 

B Yes, it is quite a change. 

P When 1 left, you and your mother and father were 
living in the old tenement on Chambers St. 

B Yes. 

P You were the little cashier in the restaurant on the 
corner, your mother taking in washings and your father a 
hod carrier. Now just look, here you are to-day. 

B I'ts wonderful what changes take place in five years. 

P Where's your dad, Betty, what's he doing now? 

B Dad is dead. He died two years ago last winter. 

P I'm sorry, Betty, 1 have recalled sad moments. 

B You should know. 

P And your mother, is she-- 

B Yes, mother is alive. She's at a party this evening. 
I didn't feel like going so staid home— to receive my ghost- 
ly guest. 

P I can't see how you did it. You know what 1 mean-- 
this place you're living in. Don't think I'm curious. It's 
none of my business, but you know it's a great change. 

B Yes; it certainly is. 

P We won't talk about it any more. What 1 want to 
know most of all is, after all these years that have passed, 
and you have never seen me nor 1 you, do you still love me? 

B Yes, Pierre, but-- 

P You havn't shown it; you havn't even kissed me. 



MISSING LINES 



B I couldn't do that. If 1 did, 1 wouldn't be true to my-- 

P Betty, is there another man who-- 

B Yes; I'm sorry to say it--but 1 am married. 

P You! married.^ You're fooling me, arn't you? 

B No; I'm telling you the truth. 

P Who is he! Who is the man? 

B Jack Cray don. 

P Jack Craydon! rises You! marry Jack Craydon ! The 
man who wronged me before 1 sailed. It was through him 
I was forced to sail on the ship "Good Fortune." So you 
married him? 

B Yes, 1 married him. You see 1 had to. 

P You had to? 

B Yes, 1 had to. 

P You don't mean— 

B No, 1 had to marry him because it was my father's 
last wish and 1 promised him 1 would. So— I kept my 
promise. 

P sits on sofa Are you happy with him? 

B So far 1 have no complaint. 

P But your promise to me, what of that? 

B Don't make it any harder for me. You know 1 
thought you was dead. What else could 1 do? 

P 1 see now. You thought all hope lost. 1 wish you'd 
married any other man than Craydon. Every time 1 think 
of him, something rises in me that almost leads me to 
commit crime. 

B seizes his arm You don't mean you could — kill him? 

P Yes, 1 could almost kill him and feel innocent. 

B But you won't, will you? 

P For your sake, 1 will not. 1 hope 1 havn't been an in- 
truder this evening. 

B Oh no; 1 am glad that you called. 

P Well, 1 think it's time that 1 leave, both rise, shake hands 
Betty, if we can't be the same old sweethearts, let's be the 
same old friends. 



MISSING LINES 



B Yes, yes, we will always be friends. Now be sure and 
come and see me often, won't you? 

P Not as often as 1 would like. We will still be the same 
old friends, starts to go L, turns By the way, Betty, 1 will want 
the play 1 gave you to keep for me before 1 sailed. You 
know the one 1 wrote, "Broken Chords," and left lines out 
all through it that I couldn't at the time fill in. 1 am go- 
ing to try it again. Will you get it for me? 

B I am sorry, but-- returns to sofa. sits. 

P But what. 

B I cannot give it to you. 

P You can't give me my own play? 

B I havn't it to give. 

P You didn't destroy it, did you, after all the years it 
took me to write it. It was the hope of my future. 

B No, 1 didn't destroy it, but 1 can't give it to you, that's 
all. 

P Tell me why. 1 have a right to know, sits by her side 

B 1 can't give it to you because 1 have sold it. 

P You've sold it. 

B Yes. 

P I don't see how you could with all those missing lines 
in it. 

B 1 sold it just the same. You know 1 thought you dead 
and so decided to sell it. 

P So they took the play with missing lines. Whose 
name was it published in. 

B Why mine. 

P Published in your name. You did wrong. That was 
stealing. 

B Stealing. 

P Yes. The least you could have done would have been 
to have published it under the real author's name. So 
you published it in your own name. 

B Yes, 1 thought you dead . 

P That wouldn't make any difference. 



MISSING LINES 



B I didn't think of that. 

P It is the same as stealing. You published another's 
play under your name. You was willing to take all the 
honor and praise from the one who deserved it. That's 
the way of the world. One does the work and another gets 
the honors. To speak truthfully, I am ashamed of you. 
rises, walks up and clown stage. 

B Don't be too hard with me. 

P Me, hard ; 1 am doing my part to act like a gentleman. 

B But you're angry. 

P I have cause to be. A girl who would give up happi- 
ness for another man and steal her first lover's play, is 
enough to make any man angry. 

B I didn't think you would take it to heart so. 

P 1 want you to truthfully answer the question 1 am go- 
ing to ask you. Did you get the money to furnish these 
apartments from the money you received from my play. 

B Yes; that is why you see this change. It came by 
money received from your play. 

P All 1 can say is that 1 am sorry 1 came here this even- 
ing. 1 wish 1 had really drowned when the ship was wreck- 
ed. 1 lived all those five years just for you, you alone and 
then- -well to come here and find you the wife of the man 
I hate and that you have stolen my play. 

B Please don't say I stole your play. 

P What was it then, if not stealing. 

B You don't understand. I thought you was dead. 

P And 1 wish that 1 was, too, good and dead--dead as a 
door nail. 

B I'm sorry; won't you forgive me. ^ 

P 1 can forgive you for taking my play but your marry- 
ing Jack Graydon 1 can never forgive. 

B He is not half as bad as you think. 

P I never saw him but what he was on some sinful er- 
rand that would lead to the ruination of another. 

B 1 can't believe that, he has been so good to me. 

P Well, he had better be. 



MISSING LINES 



B I wish I could make you see as I do. 

P I see it all, I must go and never return. But before I 
go, I want to bring back to your mind the poem I wrote in 
the play for you, YOUR DREAMS AND MINE: 

You dreamed of the coziest of country bowers, 
Secluded by trees and covered with flowers; 
Where birds would sing their songs of love 
And the skies be always blue above; 
Where you hoped we always together would rest 
In our little dream cot far out in the West. 
2 You dreamed of another that would come to our nest; 
I'd build him a cradle, where he could rest. 
Among the boughs of the big green trees. 
Where the cradle would rock to and fro in the breeze. 
These were your dreams and I hoped in time. 
They would surely and truly be mine. 
It was for you Betty, just you alone. Good bye, Betty, 
God bless and keep you and make you happy for my sake. 
B rises as Pierre starts L Pierre! he stops and turns Will you 
do me one favor? I only want one. 
P Yes, Betty; what is it? 

B Come stand by me and let me play some of the old 
songs we used to sing together, will you. 
P Yes. 

B Thank you. she goes to piano, plays melody, he stands by her 
P at finish Play more, Betty, it brings back happy days. 
B Select something for me. Here are lots of them, she 
hands him music I'll play any that you like. 

P he looks through the lot, stops at one, taking it out, hands others 
back to her Why, this is the name of the poem I just recit- 
ed to you. 
B Yes; open it and read the words. 
P looks inside Betty, it's my poem and set to music! 
B Yes; Look at the front cover. Who are the authors? 
P looks, reads Lyric by Pierre Wasmuth, Music by Betty 
Journeay. You don't mean to tell me that you— 
B Yes, Pierre, I wrote the music and had it published. 
P Betty, you're a wonder! I-- 



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MISSING LINES 



B Come here, I want to show you something else, takes 
Ms hand, leads him to C D, pulls draperies aside, points Do you see 
that electric theatre sign? Read the announcement. 

P reads "The Merrill Dramatic Co. presents Pierre Was- 
muth's great drama 'Broken Chords.' " Betty, I don't 
understand. Will you explain? I have-- 

B I have still more to show you. leads him to table, picks up 
newspaper, points to article in same I want you to read that. 

P takes paper, reads "To the public: Pierre Wasmuth's 
great drama, 'Broken Chords,' at the Criterion Theatre, 
commencing to-night. Don't miss this greatest master- 
piece." turns I--I--thought you published the play under 
your name. Now I discover all in mine. Song, play, eve- 
rything, in my honor. Why did you deceive me? How did 
you publish my play with the missing lines? 

B I'll tell you all. But let us sit. they sit on sofa The first 
thing to tell you is that--I am not married. 

P Not married! You told me-- 

B Yes, I know I did, but I am not married. I suppose 
you're terribly sorry, arn't you? 

P Me--sorry? I should say not. I'm glad you're not 
married. I feel much better. 

B I deceived you about my marriage and the play be- 
cause I wanted to see if, after all these years, you still lov- 
ed me. Pierre, you're true as gold. When I received the 
letter from the company you worked for, saying you was 
dead, there was something held me back from believing it. 
I kept nursing that thought until it became a firm belief. 
Then I thought of your play with the missing lines. I got 
it out, read and re read, studied and studied it, until I fill- 
ed in all the missing lines. After that I made an appoint- 
ment with a producer and the play was accepted. It was 
a proud day for me, I can tell you. 

P places arm arund her You did all this for me. Betty, you 
are a wonderful girl. 

B Don't praise me too much. You know I loved you. 

P And the song--you composed the music. 

B Yes; I loved the poem for it was meant for me. They 



MISSING LINES 



will play the music at every performance of the play. 

P Words cannot express the happiness you've brought 
me nor can I thank you enough for what you've done. 
How can I ever repay you, Betty? 

B By being a good husband and staying home nights. 

P With a wife like you how could I help it? 

B You're praising me above my merit. I dont deserve it. 

P You do and more. You slaved to gain me honor and 
fame. It was all your brains. When 1 think of it all it 
seems a dream. If it is, 1 hope 1 never wake up. 

B Did 1 do right to sell the play for $10,000 and a royal- 
ty of $50 for every performance? 

P You sold my play for all that money? 

B Yes; 1 acted as your attorney. Did 1 do right? 

P You did better than 1 ever could hope to have done. 

B I'm glad you think so. You don't know how 1 have 
missed you all these years. Absence certainly makes the 
heart grow fonder. And now you're going to be mine. 

P And you're going to be mine. 

B 1 am the happiest girl in the world. Kiss me, Pierre. 

P kisses her And 1 am the happiest man. 

B One more favor. 1 have a box at the theatre. 1 want 
you to go with me and see "Broken Chords." 1 am sure 
the audience will want to see and hear from the author. 

P 1 will go on one condition, Betty. 

B And what is that? 

P That you will appear with me. 

B Anything that you wish. 

P Come then, let's go. They rise, arms around each other they 
exit C D, with orchestra playing soft melody. 



CURTAIN 



J 



25 cents each except as stated 

28 Too Much of a Good Thing An interlude for 
3 male characters, two blacks. Very laughable and funny. 
It will fit in nicely in any entertainment, minstrel or other. 
Will run about 1 5 minutes. 

29 Jingles, No. Two Our Jingles, No. One, proved 
such needed acquisition to the people who wanted "some- 
thing short for an encore," that we were forced to issue a 
similar one, of course with entirely different contents, and 
some of the selections are perhaps a trifle longer, but none 
are too lengthy. Everything is breezy, catchy, and sure to 
please and satisfy your hearers. 

Jingles No. 1 certainly "touched the spot." Singular how long it 
takes to have the needed things appear. It's a long step from the stage 
coach to steam car. People wonder how they ever got along without 
our books. 

30 How To Put On a Play. A Complete Guide 
for Amateurs. It contains Plan for Organizing, Duties of 
those in Charge, the Plays to Seledt, the People to Choose 
for Players, Rehearsals and Rehearsing, Hints about Spec- 
ialties, General Suggeftions and Good Advice, etc. Price 
35 cents. 

31 How To Stage a Minstrel Show. A Com- 
plete Guide for Staging a Minstrel Show with all male, all 
female, or combined male and female talent, with sugges- 
tions for Co^umes, arranging Fir^ Part Finale Tableaus, 
General Advice, in facH;, every detail. Price 35 cents. 

Stanton Amusement Co., Norwich, N. Y. 



LIBRARY OF CONGRESS 




I 



*»-^*-*»-'^*»-^^«»"^ 017 400 063 3 (| 

All 25 cents each 

34 The Servant Problem Solved. A rattling 
good sketch for two males, one of whom is the funniest kind 
of a yankee character. Sure to break the spell that binds 
the most sober faced. Runs 15 to 20 minutes. 

35 The Widow and the Widower. A farce that 
is running over with laughs. Good for 20 minutes. Has a 
clever old lady character, good old man and a pretty girl. 
The old man wants the young lady and the old lady wants 
the old man. 

36 Not a Criminal After All. A sketch for 3 males 
running 30 minutes. Very interesting throughout, showing 
how happily mistakes sometimes result. In this sketch all 
three make mistakes. 

37 How She Got a Husband. A sketch for 2 males 
and 2 females. Runs 30 minutes and someting doing every 
little minute. Two of the characters should be very short 
and the other two very tall, which makes the sketch all the 
funnier, but it is not absolutely necessary to have them so. 

38 The Doctor's Assistant. An extremely funny 
farce that runs 30 minutes. The fun occurs in the doctor's 
office and 4 males assist in making it, the doctor's "country" 
assistant furnishing about 90 per cent. Besides Reuben, in 
the cast are Dr. Killmore, a gentleman who is mistaken for 
a patient, and a policeman. 

Stanton Amusement Co., Norwich, N. Y. 



